Ian C. Bouras

"Guitarist, producer, engineer, and songwriter, Ian C. Bouras, hails from New York City. Ian brings an experimental approach to new age concoctions with a hint of classical guitar, avant-garde jazz, and instrumental music that is pleasant and inventive. “Everything You’ve Always Wanted” combines light acoustic arrangements with jazzy keyboards and symphonic interludes on guitar.

“Everything You’ve Always Wanted” opens with a few electronic pulsations and low guitar strums. There are some metallic and distant strums that are mixed with some lighter guitar strums. Symphonic keyboard washes begin and join a flute or clarinet-type sound that repeats the melody with ease. This is a perfect introduction to a new age anthem steeped in jazzy elegance. A percussive beat takes hold that is rather light, but indicative of handclaps. There is a slight reggae beat to the swishy percussion and bass beats. The harp-like quality of the acoustic guitar brightens the tune without sacrificing quality or sound. There are woodblock sounds and symphonic strings with heavenly flute sounds. The light dance beat does not overtake the other sounds of the song. A nice balance of guitar, keyboard, percussion, and bass occurs throughout the song. The end of the song incorporates all of the aforementioned stylings into a whirlwind of musical magic that slowly fades out as humbly as it began.

Ian C. Bouras creates a cinematic, instrumental song with embellishments of jazz, avant-garde, experimental, contemporary instrumental, and new age infusions that are almost indescribable. The tune brings together classic guitar stylings with a reggae beat and electronic elements that are very enjoyable and completely void of anything deleterious. The song is a few minutes long, which allows a showcase of all of the instruments and sounds involved. A café, jazz club, The Weather Channel, or the comfort of one’s own room are all perfect outlets for this music." - Matthew Forss

"Guitarist/producer/songwriter Ian C. Bouras is best known for his work with AñaVañA, a New York City-based rock/reggae band. In addition to playing guitar with AñaVañA, he has done a lot of songwriting for them. But Bouras also records by myself, and this hypnotic single is the title track from his solo album, In Mysterious Ways.

Anyone who expects to hear references to Jah Rastafarai, I and I, ganja, collie weed, rude boys in Trenchtown or Emperor Haile Selassie on this single is in for a surprise. “In Mysterious Ways” doesn’t have any lyrics; the tune is strictly instrumental. And it doesn’t sound like something the late Augustus Pablo (one of reggae’s most famous instrumentalists) would have done. Actually, “In Mysterious Ways” isn’t reggae per se and isn’t rock-reggae either. This eight-minute single, rather, is best described as ambient electronica with elements of pop-jazz and dubwise reggae and the inclusion of some Spanish and classical guitar.

“In Mysterious Ways” will not be mistaken for dubwise in the classic Big Youth/King Tubby/I-Roy Sense, but Bouras does incorporate the mixing techniques of dubwise (which was the predecessor to the more forceful and abrasive dancehall style of reggae). And all of the different elements—the electronic programming, the jazzy saxophone, the Spanish guitar—come together to create a haunting, eerie, dusky mood. Some electronica purists might argue that because Bouras is using some sax and some Spanish and classical guitar, this single isn’t really electronica. But truth be told, a recording need not be 100% programmed to qualify as ambient or any other form of electronica. One can incorporate some sax or guitar and still get a heavily electronic effect, which is what Bouras achieves on this single.

“In Mysterious Ways,” like a lot of electronica, does not adhere to a standard verse/chorus/verse/chorus format. This type of recording is not about traditional songcraft, but rather, is more of an aural equivalent of collage art. Bouras assembles a musical collage in order to maintain the mood that he is going for, and the end result is a likable, noteworthy contribution to ambient electronica." - Alex Henderson

"You probably wouldn’t guess Ian C. Bouras is one of the main songwriters and the guitar player for NYC rock/reggae band AñaVañA because there isn’t anything remotely reggae or rock about his single, “The Inevitability of Loss.

For starters, there are no words to this song. Instead, it’s a straight instrumental. Furthermore, the track is an ethereal instrumental. It’s a guitar song, but not a Joe Satriani-like guitar song. Instead, it’s a little bit like a Pat Metheny guitar song, only not nearly as jazzy. Instead, it’s the sort of thing Metheny might play, if he wasn’t in the mood to take any solos.

On “The Inevitability of Loss,” Bouras played guitar, keyboards, bass, programmed the drums and mixed it. Yep, he is sort of a one man band. The track features a repeated melodic line. However, interspersed within this melody are some spacey sonic squiggles, which give the track an unusually moody feel. It sounds like something out of David Lynch’s Twin Peeks. However, it’s just a little eerie, without being full-on scary.

“The Inevitability of Loss” comes off as a small taste for what Bouras can do, rather than a play for commercial radio success. It’s difficult imagining any contemporary radio station finding a place for a song such as this one -- even as bumper music. Even so, it does make one want to hear more. Just what else can Bouras do with that guitar of his? He has the skills to create haunting instrumental creations, so there must be more good stuff where this one came from.

It is refreshing to hear an obviously talented musician, such as Bouras, applying his craft in the studio. With so many radio songs leaning on sonic gimmicks, rather than tried and true musicianship, Bouras’ approach is a breath of fresh air. Call this the inevitability of talent, instead." - Dan MacIntosh

"A Cure for Reality" takes the listener through an extraordinary journey of dub-chilled sound. The grooves are generous and sparkling with the perfect blend of smokey downtempo rhythms, coupled with beats that are fluid and sensuous.
There is a lovely narrative running through this offering, with delightfully lilting Arabic percussion, Reggae bass lines and familiar Latin strings surfacing and resurfacing throughout.
It is an enchanting sensual album, smoothly blending exotic ambiance with timeless chill out beats. The end result is a warm and inviting sound that allows you to submerge your senses in this welcoming world, evocative of sunny climes, wind swept places and forgotten times.”
- DJ Sirlicksalot - Chill'n'Groove Radio

“A Cure For Reality is musician Ian C. Bouras' 2007 solo debut CD. This New York, NY instrumental artist describes his music as "Reggae, Latin, Dance, and Dub," but also manages to include futuristic and electronic effects, resulting in an eclectic and stylized blend. Some standout tracks include, "The Call" - music with a Latin flavor that just melts into, "Buttercup" with its perfect guitar and a comforting tone that seeps into your consciousness, and "Sirens" - a mood setting piece that would fit nicely into the soundtrack of some urbane show. The title track "A Cure For Reality" starts off strong, wavering on the edge of brash, then is smoothed over with the signature heartfelt echo of Ian's guitar, and the listener can sit back and ride the waves of sound to the shore. This artist is quite adept at varying the pulse of the music to seamlessly merge different flavors together as would a master chef. Well done! **** Pretty Darn Good!” - Lily Emeralde and Emma Dyllan - Phosphorescence Magazine

"Now hailing from California, past Phosphorescence Magazine reviewee, Ian C. Bouras has submitted his newest (2009) CD entitled "The Certainty of Being Found." This twelve track instrumental creation has Ian on guitars, piano, melodica, and synth, with Mat Fieldes on bass, and David Vincola on drums and percussion. Each track is followed by a short, titled interlude that seems as if it is reflecting on the previous tune, as well as providing glimpses of what is to come.

The CD opens with the magnetic "The Clues Are In The Dialogue," featuring Ian's guitar with its heart-rendering Spanish/Latin, and sometimes Hawaiian sounding flair. This one has a mesmerizing quality that keeps you on the edge of your seat as you try to anticipate where it's going. "DR56" starts off filled with melancholy that leads to hope, with a dash of danger thrown in, and the catchy "On The Corner With Doubt" is searching for something just out of reach. Our listening experience encountered interpretations that were revisited throughout, and included such far-flung feelings as the old west lonely cowboy, whose life is full of hardship, and that of a futuristic space traveler. The last track, fittingly titled "To Be Continued (exit)," contains unexpected elements that make the listener question his or her perception. The combination of instruments and engineering lends an air of mystery to the entire collection, and makes one wonder as to the true meaning of the songs.**** Way Cool!" --- Lily Emeralde and Emma Dyllan


- Phosphorescence Magazine

In our special December 2007 all-music issue, we reviewed Ian C. Bouras' 2007 solo debut album, A Cure For Reality. This New York based instrumental artist recently submitted two additional tracks from his latest release, entitled, By Company They Mean Me.
"Between Love And Loneliness" is a perfectly named composition that soars with the orchestral beauty that might accompany a wordless, slow-motioned scene from a love story. Then, in turn, it plunges the listener to the stark depths of longing and loneliness with a guitar that pulls at the heartstrings.
A rainbow range of sound sensations are covered in "When The Night Gets Longer," which sustains a great, followable beat throughout. Both tracks include facets of Ian's signature Latin flavor.
Ian is definitely an artist with a creative ear for unexpected sound directions that lead to wonderful discoveries.
**** Way Cool!
Sample Ian's sound at www.sdmprecords.com.
- Lily Emeralde and Emma Dyllan - Phosphorescence Magazine

“Ian C. Bouras is multi-talented artist who plays a variety of instruments, and is a recording engineer as well as a songwriter. In 2004 and 2005 he was nominated to be among the top songwriters by the prestigious Billboard Magazine. On his latest release, “The Certainty Of Being Found” his main instrument is guitar, but he also plays piano, synthesizer, and melodica – a small reed instrument with a keyboard, something like a cross between a horn and an organ. Two other excellent musicians: Mat Fieldes on bass, and drummer David Vincola join Ian on the album to complete this instrumental trio.

The music is an unusual combination of diverse genres including reggae, jazz, new age, Spanish guitar, and wisps of impressionistic semi-classical. At times, these elements are blended together within the same song. Ian has a knack for starting a song in one style and then gently shifting gears into other directions in creative ways. The reggae vibe is strong as it drifts in and out of the melodies. The album is interestingly arranged with six longer songs interspersed with six guitar interludes between them, somewhat like a sorbet between courses of a meal.

I found his writing and the unexpected thematic twists within his compositions quite intriguing. On the technical side I liked his use of echo and delay effects on guitar and felt that it added dimension and atmosphere to the music. All in all, it’s an adventurous effort and something a bit different for the discerning listener”. --- Michael Diamond
- Awareness Magazine

“Guitarist and producer Ian Bouras is best known for work with a rock & reggae band. A Cure for Reality sees him branching out with a solo album comprising flavours of reggae, latin, dance, and dub. Though Ian plays guitars, bass, and keyboards on most tracks he's joined on a couple of tracks by Annastasia Victory; and drum loops come from various audio suppliers.
In my experience albums like this are few and far between. On paper the mix of styles might seem an odd choice to bring together on one album, yet in the right hands it works well. Hints of the East coupled with dub on “Latte” brought to mind Celestial's eclectic albums. Crisp acoustic guitar notes are the glue that holds most of it together. They often form superb little melodies, as on “Ian” where lots of thrumming drums make a rhythm while the main melody comes in periodically, and harmonising melodies lurk in the background.
The piece “Buttercup” has quickly become my favourite. Sleepy guitar notes and electronic cries lead into a bobbing rhythm of bass and a repeating melody on guitar. Light plucked notes in the foreground create a delightful melody. The track has a sense of innocence without being too sweet; indeed it's on the verge of being a lullaby and fades out towards the end when its magic has been sown in the listener's heart.
Put this CD on and sit back with a glass of your favourite tipple and imagine the world outside is somewhere with a strong cultural vibe like New Orleans or Havana. In “Sirens” the guitar plays a sassy melody and restless fast fingered refrains, while drums and beats maintain a taut anticipatory rhythm.
One of the rewards of being a reviewer is receiving albums such as A Cure for Reality which would otherwise pass below one's radar. This non-genre album contains some lovely music whose charm comes from spanning several musical styles without degenerating into a disjointed mishmash”. - Dene Bebbington - Melliflua

“It takes two minutes for Ian Bouras’ new disc, The Certainty of Being Found, to reveal its true identity. The first track, “The Clues Are in the Dialogue,” starts with a solid Spanish guitar-influenced opening that’s dramatically slow and grim. Then it’s like the backdrop raises behind Bouras and, lo and behold, there’s a funky little combo playing cool dub behind him. This is the essence of …Certainty: smokin’ and tasty dub, made with a dry rub of Spanish spices, that now and then fades under a more straightforward approach. Bouras’ guitar work overall is smooth and relaxing and a genuine pleasure to give in to—just have a listen to “The Gift of Desperation (Interlude)” and you’ll surely agree. But it’s his excellent classic doubling work and his delicious reggae-borne rhythms that bring me back to this disc. To this end, you can go straight to “On the Corner with Doubt” and just drop right into it. Here, the way his melodica work pairs up with the echoing guitars and drums will absolutely win you over. The standout track for me is “The Cliffs,” where all of Bouras’ elements really come together perfectly. Refreshing dub licks melt into rich harmonics that ping softly into sweetly picked melodies while the melodica waits patiently to sing in its distinctive voice. Just close your eyes and chill on the beach in your head when this one plays. Me, I’m having a pina colada…it’s on Ian”. - Hypnagogue

“Take a rock drum-kit, latin percussion and guitars, and reggae-style bass, and you've got a surprisingly unique and fresh sound that is Ian.

Ian is exactly what music needs more of. This is his sound, and I can't think of many that are remotely similar. There are so many flavors of sound blended together, and they somehow fit together quite naturally. It's something you can dance to, and it's something you can relax to. Artists like this are responsible for the evolution of musical genres, and I've got nothing but appreciation for this.

Definitely give it a listen.” - Blips and Beeps